Classical Music and Social Change: A Cultural Perspective

The genesis of music in India can be traced back to its integral role in socio- religious life, as outlined in ancient scriptures. Initially embedded in sacred rituals to express devotion to the divine, music gradually found its place in secular life as well. The Kama Sutra even prescribed music as the foremost among the sixty-four arts to be learned by individuals of high birth for aesthetic satisfaction and entertainment. In the early Vedic times, religious music was based on a single note, udatta (raised), which evolved into a two-note system with the addition of the unudatta (lower) note. The concept of rag (melody) took shape by the fifth century A.D., and by the fifteenth century, a degree of uniformity in Indian music was achieved. Presently, two main systems, Hindustani (northern) and Karnataka (southern), coexist, sharing fundamental principles yet considered dialectically different. The essence of Indian music lies in melody, expressed through ragas, where sounds follow one another, conveying emotional states in an aesthetic unity. The closed forms of Indian music, known as dhruvapada or dhrupad, were initially songs praising gods and kings. Over time, secular influences led to the emergence of kheyal, a more free and imaginative style, while thumari and tappa added unique dimensions to classical music. Contact with the West, facilitated by Indian maestros’ visits to Europe, introduced new instruments and trends. In the 1920s, Udai Shankar brought Indian instruments, particularly the tabla, to the Western stage, contributing to the confluence of melodic and harmonic music. Indian classical music received international attention, with artists like Yehudi Menuhin collaborating with Indian musicians. The Beatles’ adoption of the sitar and Indian styles further popularized Indian music in the West during the 1960s.

While Indian music influenced popular music, the classical mode remained pure and retained its traditional forms. The new generation of educated Indian musicians deepened their understanding, maintaining traditional mastery while incorporating modern trends. The violin became an integral part of Karnataka music, and the interaction between classical and popular music continued. In the wake of political changes during the British Raj, the native courts diminished, and musical events transitioned to the urban middle class.

In conclusion, the journey of music in India reflects its evolution from sacred rituals to a globalized harmony, blending tradition with innovation. The classical forms, deeply rooted in history, persist alongside the dynamic influences of contemporary trends, ensuring the enduring legacy of Indian music. Folk epics, narrated by traditional artists, come alive in the vibrant state of Rajasthan, where traveling singers, against vivid backdrops, sing, dance, and play stringed instruments, bringing ancient tales to life. The folk singer, a versatile figure in minor cultural forms, weaves stories through song, connecting communities and preserving cultural narratives.

Bhajans, group hymn-singing expressing devotion, resonate in temples, street corners, and private spaces across the country. Popularized by informal gatherings, bhajans create a harmonious blend of spiritual expression and community connection. Well-to-do families and singing groups contribute to the devotional atmosphere by keeping instruments for devotional music. However, when it comes to popular music, the heartbeat of the nation syncs with film music. Synonymous with mass culture, film songs transcend dialect barriers, captivating audiences across rural and urban landscapes. The first recorded song in India dates back to 1902, while Alam Ara, the first sound film in 1931, marked a turning point with its iconic music.

Film music’s evolution mirrors broader societal shifts. Initially sung by actors themselves, play-back singing emerged in 1933, transforming the dynamics of film compositions. Despite its immense popularity, film music lacks formal schools for teaching, and its evolution reflects the dynamic interplay of practical knowledge and audience preferences. Disco music, a modern craze, has found its place, breaking records in sales. Film music directors, knowledgeable about popular tastes and orchestral dynamics, wield significant influence in shaping the industry. While classical musicians occasionally contribute to experimental film music, entry into this establishment remains

challenging. The protected realm of film music reflects the intricate interplay of tradition and innovation, a nuanced dance that continues to shape the musical landscape of India.

The social structure of musicians in India is akin to a pyramid, with a select few established masters occupying the summit. These maestros enjoy economic prosperity and widespread recognition, performing at national and international concerts. Their fame extends through various mediums, including All-India Radio, records, films, and newspapers. Beneath them lies a tier of emerging musicians, aspiring to carve a niche in the music world. Encouraged by friends and mentors, these performers showcase their talents to secure a place in the musical realm. A third stratum comprises musicians content with local acclaim, lacking either the ambition or opportunity for broader recognition. The base of the pyramid includes accompanists, young students, and those in hotel orchestras.

Classical music in India is fundamentally designed for soloists, who dictate the accompaniment, movement, tempo, and the overall flow of performances. The hereditary nature of the profession is evident, with Muslim families dominating in the north and high-caste Hindus, typically Brahmins, in the south and Bengal. The lineage of master musicians has given rise to distinctive musical styles, known as gharanas, shaped by relationships of descent, learning, and affinal kinship. The social structure of music is complex, comprising successful and unsuccessful artists, recognized and amateur performers. The caste system, ingrained in Indian society, influences the development of individuals within the musical realm.

Professional castes specializing in music exist, with drummers and pipers attached to villages and families serving patrons during festivities and rituals. Public entertainers, singer-beggars, and accompanists hail from specific castes, creating a diverse musical landscape. Traveling musicians, known as Bhots, move from community to community, singing songs in praise of their patrons. Musicians are recruited from various social groups, spanning hereditary castes, Hindus and Muslims, and families of musical specialists. Learning music is often a hereditary tradition, with students receiving advanced training through the

guru-shishya relationship. The best musicians attract the best students, creating a lineage of teacher-pupil heritage.

While many musicians earn their livelihood as teachers or through All-India Radio, others try their luck in Bombay’s film industry or seek international recognition through concert tours. Economic success in the music world may take years to achieve. The returnee from abroad has become a symbol of success and prestige, though only a select few survive solely on art-music performances. In recent decades, the status of women in the music profession has risen significantly. Women singers and instrumentalists have gained recognition, with stalwarts like S. M. Subbulakshmi and Lata Mangeshkar making historic contributions. Singing groups of women at festivities are common, marking a departure from earlier stigmas associated with women in public entertainment. Music has become a respectable profession for women, offering opportunities for both teaching and performance.